Haute Epoque, objets de curiosité

Sale: Wednesday 27 January 2021
Salle 9 - Drouot-Richelieu - 9, rue Drouot 75009 Paris
PDF Ebook Infos CGV
Live 
Auction house
Pierre Bergé & Associés
Tel. +33 (0)1 49 49 90 00
100 Results

Tous les lots

Lot n° 205 - Rare plaque de forme cintrée en bronze ciselé, gravé et doré. Dans sa partie basse est figurée la Nativité encadrée par deux colonnes torses à chapiteau feuillagé supportant un toit en pointe: au premier plan, la Vierge est allongée, son coude droit appuyé sur un traversin; une sage-femme, un de ses bras entourant l'auréole de Marie, la réconforte en lui apportant une coupe; sur la droite, saint Joseph est assis sur un chapiteau corinthien retourné, dans une attitude pensive, une joue appuyée sur sa main; entre les deux, l'Enfant emmailloté repose dans un berceau maçonné avec arcatures et murs appareillés; au-dessus de lui, le boeuf et l'âne le réchauffent de leur souffle; dans le fond, à gauche, l'étoile à huit branches ponctuée de petits cercles; au registre supérieur, bordé de colonnettes à décor de feuilles dressées et superposées, différentes architectures, clochetons, façades à portiques, galeries, remparts symbolisant la ville de Jérusalem; au tympan trône le Christ assis dans un fauteuil curule à dossier sur fond d'un rideau suspendu; la tête entourée d'un nimbe crucifère, il bénit de la main droite et tient un livre fermé de l'autre; il est revêtu d'une tunique et d'un manteau dont un pan entoure son bras droit; les chutes des vêtements dessinent des vagues entre les jambes et de chaque côté; il est entouré, de part et d'autre, de douze brebis par groupe de six; la plaque est bordée, en partie basse, par une frise en léger avancement ornée de chevrons et de motifs trifoliés tandis que l'arcature est soulignée d'une frise à l'antique d'olives losangées alternant avec des billettes; bandeau intermédiaire et arc brisé à décor de rinceaux et de palmettes.<br/>Cette plaque est insérée dans une épaisse feuille de cuivre portant au dos une douille avec platine se terminant par des pointes en accolade.<br/>Art carolingien ou plus probablement Empire byzantin, IX/XIe siècle<br/>Monture postérieure ?<br/>Hauteur: 18,3 cm - Largeur: 12,2 cm - Epaisseur à la partie inf

Rare plaque de forme cintrée en bronze ciselé, gravé et doré. Dans sa partie basse est figurée la Nativité encadrée par deux colonnes torses à chapiteau feuillagé supportant un toi…
Estimate — 30 000 - 50 000 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 206 - Stained-glass stained-glass window depicting two monks watching over the body of St. Benedict in an arc of a circle. The saint is lying down with his eyes closed and his hands folded; he is watched over by two monks, one in an attitude of sorrow, the other looking up at the sky; two censers hanging from the upper part; beaded band in an arc of a circle decorated with fallen leaves and rosettes. <br/> Saint-Denis, abbey church, ca. 1140/1144<br/>Height: 44,4 cm - Width: 31,3 cm<br/>Inserted in a window shutter with wooden frame<br/>Height: 60,3 cm - Width: 42,2 cm<br/>(fragment, small restorations)<br/>Estimation on request<br/>Provenance: formerly mounted in a window of a house in the south of France<br/>Works consulted: L. Grodecki, "Les vitraux de Saint-Denis à l'église Saint-Léonard de Fougères (résumé non communiqué)" in Bulletin de la Société nationale des Antiquaires de France, year 1972, 1970, pp. 65-66; P. Williamson, Medieval and Renaissance Stained Glass in the Victoria and Albert Museum,<br/>London, 2003, cat.1, pp. 17 and 131; S. Lagabrielle, Vitraux, Musée national du Moyen Age - Thermes et hôtel de Cluny, Paris, 2006, pp<br/>The stained glass windows in the Basilica of Saint-Denis are among the first coloured stained glass windows in France. In his book Liber de rebus in administratione sua gestis, Abbot Suger expresses his desire to make "wonderful light shine" in the vessel of his abbey-church. To do this, he called upon the best master glassmakers and painters of the region. He had at heart to dedicate an entire canopy to the Life of Saint Benedict of Nurcia, founder of the Benedictine order to which his abbey was affiliated. The art historian Louis Grodecki, author of a work on the 12th century stained glass windows of the basilica, states that the original location of this glass roof is unknown, but that in the 17th and 18th centuries it was in the ambulatory. The stained glass windows of Saint-Denis, including these ones, have been the

Stained glass stained glass window depicting two monks watching over the body of St. Benedict in an arc of a circle. The saint is lying down with his eyes closed and his hands fold…
Pas d'estimation
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 207 - Stained glass stained glass window depicting the Magi in an arc of a circle. They are standing, one behind the other, each holding in one hand their present; wearing a crown on their head, a long tunic and a mantle tied on their right shoulder; decorative band at the bottom with leaves and rosettes; inscription at the top right BEFORE AND BEFORE INWARD..., abbreviation for [PER] A[LIAM] V[IAM] R[EVERSI SUN]T IN RE[GIONEM SUAM] - Matthew, II, 12 (By another way they returned to their country). <br/> Saint-Denis, abbey church, ca. 1150<br/>Height: 44,7 cm - Width: 27,9 cm<br/>Inserted in a window shutter with wooden frame<br/>Height: 60,3 cm - Width: 42,2 cm<br/>(fragment, some restorations including the purple robe of the king on the right)<br/>Estimation on request<br/>Provenance: formerly mounted in a window of a house in the south of France<br/>Works consulted: L. Grodecki, "Fragments de vitraux provenant de Saint-Denis" in Bulletin Monumental,<br/>Year 1952, 110-1, pp. 51-62; L. Grodecki, "Les vitraux exécutés par ordre de Suger pour l'abbatiale de Saint-Denis<br/>Denis entre 1140 et 1146 environ" in Bulletin de la Société nationale des Antiquaires de France, Année 1955, 1952-1953, pp. 48-52; M. W. Cothren, "The Infancy of Christ from the Abbey of St. Denis between about 1140 and 1146" in Bulletin de la Société nationale des Antiquaires de France, Année 1955, 1952-1953, pp. 48-52; M. W. Cothren, "The Infancy of Christ from the Abbey of St.-The Infancy of Christ from the Abbey of St. Denis: a Reconiseration of its Design and Iconography" in The Art Bulletin, September 1986, Vol. 68, No. 3, pp. 398-98. <br/> Internet link: http://www.lavieb-aile.com/article-les-vitraux-de-saint-denis-118172222.html<br/>The colours, with the characteristic intense blue and pink of the skin tones, the facial features, the dry folds of the drapes, the writing of the inscription and above all the frieze of horizontal leaves and rosettes, present in the previous stained glass wi

Stained glass stained glass window depicting the Magi in an arc of a circle. They are standing, one behind the other, each holding in one hand their present; wearing a crown on the…
Pas d'estimation
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 210 - Pair of tondi in limestone carved in high relief with green monochrome highlights representing the Angel of St. Matthew and the Eagle of St. John from a Tetramorph. The angel, with curly hair, is depicted in a bust, holding in both hands the Gospel bearing the inscription + CATER / SONISS? / RANDTITUS / H IS L +; he is dressed in a tunic with a square neckline and a cloak resting on his right shoulder with tight, parallel folds; the eagle holds in its claws the open Gospel bearing the inscription +UTISSIT / VSIS SETE / AVOL LO / ASVD RA / UITTV TA +; head and body in profile covered with interlocking feathers; wing feathers and ribbed tail feathers; both plates are bordered by a frieze of circles. <br/> Northern Italy, Emilia-Romagna, attributed to the Master of the Months of Ferrara, ca. 1220 /1240<br/>Diameter: 48 cm<br/>Base (small lacks on the edge)<br/>Consulted by Ludovico V Geymonat, "Il Primo Bagno di Gesù a Traù e Venezia" in Hortus Artium Mediev.., Vol. 20/2, pp. 854-860.<br/>These two plaques, in late Romanesque style, must have been part of a Tetramorph surrounding a monumental blessing Christ or a cross on a church tympanum. They can be compared to the cycle of the Months of the Duomo of Ferrara, now kept in the Cathedral Museum, whose anonymous author was given the eponymous name. Similarities can be established between the figures symbolising the work of these Months and the Angel of St. Matthew.<br/>The February butcher has the same face with full cheeks and hair in tight curls in a spiral pattern; the folds of his short tunic are also treated in parallel lines (fig.a). Even more characteristic are the folds of the girdled dress and the mantle of the bifroned figure, embodying January (fig.b). The Master of the Month was a disciple of Benedetto Antelami (c. 1150 - c. 1215), an Italian sculptor and architect who was active at the turn of the 12th and 13th centuries in northern Italy. Together with the Baptistery of St. John the Baptist in Parma, he

Pair of tondi in limestone carved in high relief with green monochrome highlights representing the Angel of St. Matthew and the Eagle of St. John from a Tetramorph. The angel, with…
Estimate — 15 000 - 20 000 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 213 - Binding plate in champlevé copper, repoussé, engraved and enamelled with minute traces of gilding representing Christ on the cross between the Virgin and Saint John, surmounted by two angel busts with erect wings, enamelled in blue, light blue, green, turquoise and red. <br/> The background, divided by a horizontal band, is decorated with discs and four cross-shaped leaves of different sizes; the figures of Christ, the Virgin, John and the angels are in bas-relief with their heads in high relief; the hand of God in the upper part surmounting the titulus bearing the Christic monogram IHS; three circular arcs in the lower part surrounding tri-lobed arches. <br/> Limoges, ca. 1200<br/>Height: 23.5 cm - Width: 10.2 cm<br/>(missing parts and plates formerly cut at the corners)<br/>Works consulted: Exhibitions Paris - New York 1995-1996, L'OEuvre de Limoges - Emaux limousins du Moyen Age, Musée du Louvre - The Metropolitan Museum of Art, cat.; M.M. Gauthier, E. Antoine et D.<br/>Gaborit-Chopin, Corpus des émaux méridionaux - L'apogée 1190-1215, Ed. du Louvre, 2011. <br/> The elegance of the elongated silhouettes of Marie and Jean, the beautiful quality of the engraving, the simplicity of the circular rosettes and their close symmetrical arrangement place this binding plate early enough in the production of Limoges champlevé enamels, at the turn of the 12th and 13th centuries.

Binding plate in champlevé copper, repoussé, engraved and enamelled with minute traces of gilding representing Christ on the cross between the Virgin and Saint John, surmounted by …
Estimate — 15 000 - 20 000 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 216 - Virgin and Child in carved ivory with rare polychrome remains. Standing with a slight hip, Mary carries the Child on her left arm and presents him with a fruit; her face is oval with almost closed eyes framed by slightly wavy hair and a short veil; she is dressed in a long dress with a simple neckline falling in vertical folds that break off at the ground and a mantle forming a veil, a part of which surrounds the left forearm and returns to the front; angular and deep folds on the left, in only one flared cone under the Child; this one dressed with a long tunic seizes with his right hand the fruit tended by his Mother and holds a sphere of the other; slightly smiling face and hair cut in gradation ending in small curls; terrace with sides. <br/> North of France, middle of the 13th century<br/>Height: 18.8 cm - Weight: 364 g (small slits, terrace may have been reshaped in the past)<br/>Origin: former private collection, Belgium<br/>A report of analysis by the carbon-14 method carried out by the CIRAM Laboratory on November 9, 2020 will be given to the buyer (n°1020-OA- 530R). It concludes that the ivory was dated between 1226 and 1297 with a probability of 95.4%.<br/>Works consulted: R. Koechlin, Les ivoires gothiques français, Paris, 1968, cat.73, pl. XXVI; D. Gaborit-Chopin, Ivoires du Moyen Age, Paris, 1978, pp. 137 and 205; R. H. Randall, Masterpieces of Ivory from the Walters Art Gallery, Baltimore, 1985, cat. 261, pp. 189 and 198-199; D. Gaborit-Chopin, Ivoires médiévaux<br/>Ve - XVe siècle, Musée du Louvre, Paris, 2003; P. Willimason and G. Willimason. Davies, Medieval Ivory Carvings 1200-1550, Victoria and Albert Museum, London, 2014, Part I, pp. 28-31. <br/> This Virgin and Child has several features that allow it to be placed in the 13th century, well before the peak of French Gothic ivory production in the first half of the following century: imperceptible wiggle of the hips, very slit eyes (here almost closed), stiff folds in the garments, short vei

Virgin and Child in carved ivory with rare polychrome remains. Standing with a slight hip, Mary carries the Child on her left arm and presents him with a fruit; her face is oval wi…
Estimate — 20 000 - 30 000 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 218 - Fragment of a limestone tombstone with engraved decoration of a woman's bust. Almost the entire head and left shoulder of the figure are preserved; face framed by a veil and wimple; eyes with hemmed eyelids with ends stretched towards the temples, long straight nose and small mouth; part of the architectural frame consisting of a moulded arch with a red tooth furnished with a censer, a fine column with a leafy capital, a pinnacle and a dragon in the position of a gargoyle on the moulding; diamond-shaped coat of arms with a... and d... to the ermine quarter on the field.<br/>South-east of the Ile de France, Brie, last quarter of the 13th century<br/>Height: 46 cm - Width: 45 cm - Thickness: 9 cm<br/>Works consulted:<br/>A. Lefèvre, "Les baillis de la Brie" in Bibliothèque de l''Ecole des<br/>Chartes, Année 1860, 31, p186; J. Adhémar, "Les tombeaux de la collection Gaignières, dessins d'archéologie du XVIIe siècle" in Gazette des Beaux-Arts, Paris, July-September, 1974, p. 71.<br/>This fragment most probably represents the widow of Jean de Montigny, a knight who died in 1278 and whose tombstone was in the abbey of Preuilly (Seine-et-Marne). A survey carried out at the end of the 17th century from the collection<br/>Gaignières shows him in arms with his diamond-shaped shield of... and ... in the ermine quarter (fig.). His name appears in the archives among the bailiffs of Provins around 1270-71 and as a guard at fairs in 1277. There is little doubt that it is his wife, represented here as a widow with the veil and the wimple; one notices indeed the presence of a censer in the redent of the arcature, a detail visible on the drawing.<br/>The buildings of the Cistercian abbey of Preuilly, located about twenty kilometres from Provins, were transformed after the Revolution into a workshop for the manufacture of saltpetre and divided into several lots.

Fragment of a limestone tombstone with engraved decoration of a woman's bust. Almost the entire head and left shoulder of the figure are preserved; face framed by a veil and wimple…
Estimate — 8 000 - 10 000 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 221 - Ornamental plate in champlevé copper, engraved, enamelled and gilded representing a knight on horseback, red enamel. In the image of the equestrian seals, the knight wearing a helmet, on his galloping mount, brandishes a sword in his right hand, his other hand holding the shield in the form of a shield; this shield, as well as the tunic and the horse's cover, bear the arms of his family Gules with ten bezants Or, arms of the Barons of La Zouche, cadets of the noble house of Rohan. <br/> England, ca. 1300<br/>Height: 9 cm - Length: 10.6 cm<br/>(some enamel chips, slight accidents)<br/>Provenance: former private collection of the Morbihan<br/>Bibliography: White et Spirit, "Une exceptionnelle applique médiévale enmaillée" in NHR, March 2019, n°2, pp.14-16, ill.<br/>This rare medieval decorative piece has been the subject of an article in a specialized journal which gives precious indications: "(research) in English armorial bearings [...] has made it possible to attribute these coats of arms to the barons of La Zouche. [...]. The title of Baron de la Zouche is one of the oldest titles of nobility in the peerage of England, cadets of the noble house of Rohan. This origin explains the presence of this applet in the<br/>Morbihan since the house of Rohan is a surviving family of the French nobility, originally from Brittany, where it takes its name from the land of Rohan, in Morbihan. The Barons de la Zouche we are interested in for the period from the end of the 13th to the beginning of the 14th [...] are Alan la Zouche of Ashby, William la Zouche of<br/>Harringworth and William la Zouche of Mortimer".<br/>From what we know of his life, it seems that Alan la Zouche (1267-1314), among the three members of this family, is the one best able to correspond to the owner of this ornamental plaque. We know, for example, that Alan, the first Baron la Zouche of Ashby, "was in Gascony with King Edward I of England in October 1288, when he was one of the hostages given by the k

Ornamental plate in champlevé copper, engraved, enamelled and gilded representing a knight on horseback, red enamel. In the image of the equestrian seals, the knight wearing a helm…
Estimate — 20 000 - 25 000 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 222 - Large reliquary with a wooden core covered with cut, stamped, chiselled, silvered and gilded copper of architectural form. Facade with four rows of windows, two rows with quatrefoil outlines, two ogival windows flanked by twisted columns; pinnacles on either side with niches housing statuettes of Saint Peter and Saint Paul; triangular tympanum with foliated ramparts flanked by pinnacles, lunula flanked by cabochons; sliding back, uncovering cubicles, decorated with fleurons in pointed squares and quatrefoils, courses of flowered scrolls on the uprights; stepped base. <br/> Tuscany, Siena, second half of the 14th century<br/>Height: 50 cm - Width: 26.5 cm - Thickness: 14 cm<br/>Plexiglas base (some accidents and missing parts, small restorations)<br/>Works consulted: M-M. Gauthier, Highways of the Faith - Relics ans Reliquaries from Jerusalem to Compostela, London, 1987, pp. 173-175; Exhibition<br/>Cleveland - Baltimore - London 2011, Treasures of Heaven: Saints, Relics, and Devotion in Medieval Europe, Museum of Arts - Walters Art Museum - British<br/>Museum, cat. 117 to 121.<br/>The architectural form of this reliquary, with its pediment, hook crevices, pinnacles and quatrefoil openings, is the same as that adopted by the reliquaries, triptychs and tabernacles of the Sienese school in the third quarter of the Trecento. Usually in gilded wood or pastiglia, this rare example presented here is a version in gilded copper, and silvered for the reverse, decorated with coloured glass cabochons, some silver rosettes and two chased bronze statuettes. With its geminated windows, twisted columns and pinnacles, it evokes the facade of duomi like those of<br/>Siena, Florence or Monza.

Large reliquary with a wooden core covered with cut, stamped, chiselled, silvered and gilded copper of architectural form. Facade with four rows of windows, two rows with quatrefoi…
Estimate — 7 500 - 9 000 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 223 - Fragment of an alabaster weeper carved in bas-relief with minute traces of gilding. The weeper rests his head on his right hand in an attitude of sorrow; his face is half-closed eyes, his mouth is ajar and his beard is short and divided into large locks; he is wearing a broad-sleeved neck with a hood whose long point descends to the nape of the neck and a coat of mail with tight sleeves closed by a row of buttons. <br/> Spain, Catalonia, workshop of Jaume Cascalls (active 1340-1378), mid-14th century<br/>Height: 12 cm - Width: 14 cm - Depth: 7 cm<br/>(bottom part reloaded)<br/>Provenance: collection André Lebel, Paris<br/>Works consulted: M. Durliat, "Sculpteurs français en Catalogne dans la première moitié du XIVe siècle" in Pallas, 1959, T.VIII, pp.91-103; Exhibition<br/>Dijon 1971, Les Pleurants dans l'Art du Moyen Age en Europe, Musée des Beaux-arts, cat. 12-16. <br/> Jaume Cascalls is considered one of the most important Catalan sculptors of the Gothic period. His work, which spanned almost forty years, is particularly noteworthy for his participation in the royal tombs of Poblet, a Cistercian monastery near Tarragona. His presence there is attested to since 1349, when he signed a contract with Master Aloy, a sculptor of French origin, to create the tombs of the King of Aragon and his two wives. He left the building site in 1360 for the construction of the Cathedral of La Seu Vella in Lleida. It seems that in Poblet,<br/>Cascalls devoted himself to the decoration of the tombs, leaving the lying down to his foreign colleague. During the desamortisación of 1835 (law on the sale of clergy property), the monastery was abandoned and the royal burials were plundered and broken.<br/>Thus, there are now several statuettes representing mourners from Poblet's tombs, scattered in different museums.<br/>This fragment would be related to the three mourners in the City Museum of<br/>Berlin (inv. Nr.8017, 8548 and 8549). A similar treatment of the faces with slit eyes,

Fragment of an alabaster weeper carved in bas relief with minute traces of gilding. The weeper rests his head on his right hand in an attitude of sorrow; his face is half closed ey…
Estimate — 1 500 - 1 800 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 231 - Lower part of a holy Bishop in limestone from Caen carved in the round. Blade with an ornamental band of four leaves, dalmatic bordered with four leaves in crosses and fringed chasuble decorated with a band of orphreys alternating fleurons with four cut-out limbs and stylized lion mittens; shoes with sharp ends and a crooked shaft with a point. Slice of the sculpture with an oval tenon. Good quality workmanship.<br/>Basse-Normandie, Cotentin, ca. 1400<br/>Height: 56 cm - Width: 34 cm - Depth: 19 cm<br/>(fragment, small accidents and erosion)<br/>The ornamental theme of the orphreys with its alternating lion heads and fleurons can be found on the Vierge du Luot (Manche) as well as on another Norman Virgin from a private collection (fig.). This seems to be one of the characteristics of Cotentin sculpture. It has also been brought to light by the curator of antiquities and objets d'art Elisabeth Marie that a certain number of statues of bishops of the region - in the image of the saint<br/>Martin de Vernix - are made from the outset by assembling several parts (head, upper part of the body and lower part). The almond-shaped tenon visible here is therefore not the result of sawing the sculpture, but is a witness to the ancient assembly.<br/>Works consulted: B. Béranger-Menand, Histoire et création artistique,<br/>La statuaire médiévale en Normandie occidentale, La Vierge à l'Enfant,<br/>XIIIe-XVIe siècle, Collection patrimoine, 2004, Tome I: p.157-161; Tome 2: p.53, p.330-332; Exposition Saint-Lô 2005/2006, Du chisel du sculpteur au sourire des saints, sculpture gothique de la Manche (XIIIe-XIVe siècle), musée des Beaux-Arts, cat. pp. 154-158, 190, 194-195.

Lower part of a holy Bishop in limestone from Caen carved in the round. Blade with an ornamental band of four leaves, dalmatic bordered with four leaves in crosses and fringed chas…
Estimate — 1 500 - 2 000 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 232 - Head of a reliquary bust in repoussé copper, chased, engraved, silvered and gilded. Face hairless with realistic features, with prominent eyes hollowed out by a pupil, hemmed eyelids, strong and straight nose, cheeks marked with nasolabial folds, well defined mouth and voluntary chin; head wearing a cap, surrounding the forehead and temples, with a straight edge and horizontal at the back, leaving visible the locks of hair slightly wavy. <br/> Central Italy, Lazio or Tuscany, 15th century<br/>Height: 15.3 cm - 9.2 cm - Depth: 10.7 cm<br/>Base (some deformations, missing cap)<br/>Work consulted: B. Montevecchi, Sculture preziose - Oreficeria sacra nel<br/>Lazio dal XIII al XVIII secolo, Rome, n.d.<br/>At the end of the Middle Ages, goldsmiths in Italy, particularly in Lazio, produced several reliquary busts, often made in two parts, the head apart from the bust; this is the case of the bust whose neck was intended to be embedded. As the head in which the relic was placed was the most precious part of the reliquary, the bust was sometimes rebuilt, perhaps as a result of an accident or a change of taste. This is the case of the silver bust kept in the church of Ceprano, a small town in Lazio, the work of a Tuscan artist of the 15th century for the head and of a goldsmith of the town, for the bust and the nimbed cap of the 18th century (fig.).

Head of a reliquary bust in repoussé copper, chased, engraved, silvered and gilded. Face hairless with realistic features, with prominent eyes hollowed out by a pupil, hemmed eyeli…
Estimate — 6 000 - 7 000 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30
Wednesday 27 January - 16:30

Lot n° 236 - An important ceiling panel in resinous wood, known as tavoletta, painted a tempera representing a madman between two pilasters whose capitals are decorated with crossbows and foliated and flowery scrolls. The half-bodied figure of the jester wears a donkey-eared hood with seven bells, also in the form of a bracelet and at one end; he hides part of his face with his right hand and with the other he holds a marotte ending in a donkey's tail. <br/> Northern Italy, Lombardy, ca. 1480<br/>Height: 45.6 cm - Width: 46.7 cm<br/>(small missing parts, stains)<br/>Provenance: Former collection of Nicole Amigues, ballet dancer at the Paris Opera<br/>In the south of France, mainly in the Languedoc region, and in northern Italy, painted ceilings are found in the form of decorated panels between the joists, along the walls or along the main beams. The Museum of Decorative Arts in Paris has a set of painted panels from a house in Cremona by Bonifacio Bembo, a painter born in Brescia. In contrast to the rectangular Languedoc panels, known as closoirs - more spontaneous in their construction and often anecdotal in their theme, like the whimsical subjects that animate the margins of medieval manuscripts - the Italian panels, known as tavoletta, often present bust figures. This large painted panel belongs to this production, and the jester appears here as part of these courses of Italian noble families among the young people usually depicted.

An important ceiling panel in resinous wood, known as tavoletta, painted a tempera representing a madman between two pilasters whose capitals are decorated with crossbows and folia…
Estimate — 1 800 - 2 500 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 237 - Carved limestone Saint Bavon, sketched back. <br/> Represented as a civil figure like a 15th century lord, he is standing with his head wearing a chaperone's hat, his right hand to his chaplain attached to his belt; face with fine, personalised features with a toupee on the forehead, frowning eyebrows, protruding cheekbones, mouth sketching a smile and a small goatee; clothes with fine details: long fur-lined dress with raised sleeve cuffs, high collar and full-length slit at the front, coat held at the chest by two ties, one of which is turned over on his right shoulder; the folds of the dress fall vertically and flare downwards. <br/> Champagne or Berry, mid 15th century<br/>Height: 58.5 cm - Width: 20 cm - Depth: 14.5 cm<br/>(some epauflures and lacks, notably the falcon he was holding on his left wrist, head reattached, remains of iron pegs)<br/>Works consulted: J. Baudoin, Bourgogne, Franche-Comté,<br/>La sculpture flamboyante, Ed. Créer, 1993, n°118-119 p.90;<br/>Dôle / Poligny 2007 exhibition, La sculpture du XVe siècle en<br/>Franche-Comté de Jean sans Peur à Marguerite d'Autriche (1404-1530), Musée des Beaux-Arts / Collégiale Saint-Hyppolite et Chapelle de la Congrégation, 2007, pp. 34-37. <br/> The representations of Saint Bavo of Ghent (or Saint Thibault of Provins) give sculptors the opportunity to interpret the image of a person of high birth, archetypal lord of their time. This type of figure can also be found in Burgundian mourning processions such as the bronze ones that adorned the tomb of Isabella of Bourbon, now kept in the Rijksmuseum (inv. Am.33-a-j). <br/> Jean IV Duke of Brabant gives a good example of this (fig.a). These figures of a lord giving alms, with his chaplain at his belt, and holding a falcon, mainly present in Burgundy, have often been recognized as Saints Thibault de Provins. Although coming from the family of the county of Champagne, Saint Thibault very quickly became a hermit, unlike Saint Bavon, also of noble extracti

Carved limestone Saint Bavon, sketched back. Represented as a civil figure like a 15th century lord, he is standing with his head wearing a chaperone's hat, his right hand to his c…
Estimate — 8 000 - 10 000 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 238 - Illuminated antiphonal letter with gold highlights on vellum, initial S illustrating the Baptism of a Christian. In the lower part of the letter, a naked man with his hands joined, half-body in a river and, in the upper part, an angel in clouds making the gesture of blessing; excrescences in the margin of foliage and flowers. <br/> Italy, Emilia, attributed to the workshop of Martino da Modena, c. 1470/80<br/>Height: 30.9 cm - Width: 13.6 cm<br/>(some wear and tear and crumpling)<br/>Work consulted: S. Hindman, M. d'Ancona, P. Palladino, M.-F. Saffiotti, The Robert Lehman Collection, IV,<br/>Princeton, 1997, pp.184-186. <br/> Martino di Giorgio d'Alemagna, called Martino da Modena, active in Emilia from 1460-1489 is the presumed son of<br/>Giorgio d'Alemagna, a German illuminator known for having worked at the ducal court of Leonello and for having decorated a set of choir books (partially lost) for the cathedral of Modena. The production of<br/>Martino da Modena and his workshop was abundant during the last third of the 15th century. Between 1477 and 1480 he illuminated no less than eleven choir books for the church of San Petronio in Bologna, in 1480; then, between 1483 and 1485, he was the author of a manuscript containing the Office of the Dead for the Ospedale della Buona Morte in Modena; he then worked on an epistolary, an evangelical and a missal for the cathedral of the same city. Finally, it is known that between 1485 and 1486 he completed a set of antiphonaries for the Cathedral of Ferrara, begun by<br/>Evangelista Tedesco and Jacopo Filippo dell'Argenta. In this Baptism we find Martino da Modena's manner with the "Germanic" treatment of the characters in a completely Italian letter.

Illuminated antiphonal letter with gold highlights on vellum, initial S illustrating the Baptism of a Christian. In the lower part of the letter, a naked man with his hands joined,…
Estimate — 800 - 1 000 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 243 - Christ the Good Shepherd in stone carved in the round. Standing, the Good Shepherd brings back the lost sheep by carrying it around his neck, his left hand holding the four legs of the animal; beautiful face with regular features framed by a hair with wavy locks; wearing a thin-brimmed hat decorated with a band of interlacing, he is dressed with a tunic and a coat, one side of which comes back to the front held by the right arm; beautifully draped, fluid in the back and supple in the front with slight breaks. <br/> Northern Italy, by Girolamo Viscardi (1467-1522), late 15th century<br/>Height: 52 cm<br/>Base (lower part and right hand missing, accident to the nose)<br/>Work consulted: Toulouse 2018 exhibition, Toulouse Renaissance, Musée des Augustins -<br/>Bibliothèque d'Etude et du Patrimoine, cat.., pp.147-148<br/>Active in northern Italy and France, little is known about the Genoese sculptor<br/>Girolamo Viscardi. His works contributed to introducing the new Renaissance style to the kingdom. As early as 1502, he was commissioned, together with other Italian sculptors, to create the tomb of the Dukes of Orleans in the Basilica of Saint-Denis (fig.a, a'). <br/> Similarly, the Toulouse native Pierre de Saint-André, adviser to Louis XII and president at the court of<br/>Genoa, commissioned this Genoese sculptor in 1508 to create his marble epitaph.<br/>Intended for the church of the Carmelites in Carcassonne, it is now in the Musée des Augustins in Toulouse (inv. RA 828, fig.b). In these two works there are stylistic similarities both in the drapery, very similar to that of the statuettes placed in the niches of the tomb of Saint-Denis, and in the serenity of expression of the face as expressed in the Christ of the moving Piéta of Carcassonne.

Christ the Good Shepherd in stone carved in the round. Standing, the Good Shepherd brings back the lost sheep by carrying it around his neck, his left hand holding the four legs of…
Estimate — 2 000 - 3 000 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 244 - Walnut reliquary bust of Mary Magdalene carved with polychrome and gilding remains, sketched back. The young saint, with a straight bust, is holding the ointment vase in front of her, lifting the lid with her right hand. Beautiful face with a high, open forehead, slit eyes with kissed eyelids, a mouth with fine, well-drawn lips and a chin with a dimpled chin; she is wearing a turban over her abundant hair falling in long wavy strands down her back; she is dressed in a dress close to the body, with a rounded neck adorned with pearls, long sleeves and folded cuffs; rectangular box for the relic in the body of the vase. <br /> Strasbourg, workshop of Nicolas de Leyde (Leiden ?, c. 1420/30 - Wiener Neustadt, 1473), c. 1465<br />Moulded oak panelled base bearing the date MDCVI...<br />Height: 48 cm - Width: 31.5 cm - Depth: 18.5 cm<br />Bust height : 39,5 cm<br />(small accidents and lacks, last old but later polychromy probably from the 17th century given the date on the base)<br /><br />The Mary Magdalene delicately lifting the lid of her ointment jar is a recurring subject in the work of Nicolas Gerhaert, who was referred to as Nicolas de Leyde in his time at<br />. The saint is depicted carrying the vase with her left hand, her other hand holding the lid<br />above the container in a gesture of offering. Good examples are the full-length Magdalene saints attributed to him or his workshop, such as those in the parish church of St. Leodegar in Biengen (Baden-Württemberg) or St. George in Nördlingen in Bavaria (Figs. a and b). This reliquary bust is to be compared with the so-called "busts of Wissembourg" representing four saints, Barbara, Catherine of Alexandria, Margaret of Antioch and Agnes, all in walnut except for the fourth, which is a plaster cast. Two busts are in the Metropolitan Museum in New York (inv.17.190.1734 and 1735), another in the Art Institute in Chicago (inv.1943.1001), the casting is kept in the Fondation de l'oeuvre Notre-Dame de Strasbourg (fig

Walnut reliquary bust of Mary Magdalene carved with polychrome and gilding remains, sketched back. The young saint, with a straight bust, is holding the ointment vase in front of h…
Estimate — 6 000 - 8 000 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 248 - Blessing Child Jesus made of wood carved in the round, polychromed and gilded. Entirely naked, the Child holds a sphere symbolizing the World in his left hand and blesses with the other. Oval face with a clear forehead, a snub nose, a smiling mouth and a heavy chin; hair with voluminous locks on the sides and falling into the nape of the neck; chubby body with a prominent belly and thighs underlined by bulges.<br/>Mechelen, ca. 1500/1510<br/>Height: 37 cm<br/>(polychromy, cross of the globe missing)<br/>These Christ-Children, Salvator Mundi, a specific production of the Mechelen workshops at the end of the Middle Ages, were intended for feminine devotion. It was in fact customary to offer them to women who took the habit; they could have a wardrobe to dress their nakedness.<br/>Works consulted: W. Godenne, "Préliminaires à l'inventaire général des statuettes d'origine malinoise présumées des XVe et XVIe siècles" in Handelingen van de Koninklijke Kring voor Oudheidkunde, Letteren en Kunst van Mechelen (Actes du<br/>Cercle royal pour l'antiquité, les lettres et l'art de Malines), 80, 1976, pp. 71-105; A. Huysmans sous la dir. de, La sculpture des Pays-Bas méridionaux et de la Principauté de Liège XVe et<br/>XVIe siècles, Musées royaux d'Art et d'Histoire, Brussels, 1999, pp. 158-159.

Blessing Child Jesus made of wood carved in the round, polychromed and gilded. Entirely naked, the Child holds a sphere symbolizing the World in his left hand and blesses with the …
Estimate — 5 000 - 6 000 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 249 - Lantern-shaped reliquary pendant with engraved and gilded silver mount and finely carved ivory subject with polychrome highlights. Hexagonal cylinder with three pinnacle uprights adorned with statuettes representing St. Catherine, St. Margaret and St. Christopher; each face is framed by intersecting hoops at the ends punctuated by a pearl;<br/>Crucifixion protected by a glass bulb composed of Christ and two thieves, three horsemen and a soldier holding spears; three-lobed bead at each end with a movable ring. <br/> Southern Germany, Nuremberg, ca. 1500<br/>Height: 8.8 cm - Gross weight: 38 g (slight missing parts)<br/>Book consulted: K.G. Beuckers, Mittelalterliche Elfenbeinarbeiten aus der Sammlung des Badischen Landermuseums Karlsruhe, Karlsruhe, cat.12, pp. 94-99. <br/> Several other examples of this type of reliquary are known in public collections: one with a Virgin and Child at the end of a rosary at<br/>Badisches Landesmuseum Karlruhe (inv. C 6564, fig.a), another with a figure of St. George in the Bavarian National Museum in Munich (inv. 29/2281.2, fig.b) and also one with a St. Sebastian in the Museum of Applied Arts in Cologne (inv. G 907, fig.c). They are simpler, however, because they do not have statuettes on the uprights like this one. A drawing in the Aschaffenburg Castle Library in Bavaria shows how these small reliquaries were arranged in monstrances (fig.d).

Lantern shaped reliquary pendant with engraved and gilded silver mount and finely carved ivory subject with polychrome highlights. Hexagonal cylinder with three pinnacle uprights a…
Estimate — 6 000 - 8 000 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Lot n° 250 - Bust of a young African slave in bronze with brown patina. Wearing an iron necklace with a chain around his neck, the young slave, with a flat nose and thick lips, looks at his forehead; his curly hair is held in place by a band tied at the nape of the neck. Holes in the shoulders.<br/>Northern Italy, Padua, workshop of Andrea Briosco dit Riccio, early 16th century<br/>Height: 11 cm<br/>Base<br/>Works consulted: A. Gibbon, Guide des bronzes de la Renaissance italienne, Paris, 1990, p 174; Exposition Trente 2008, Rinascimento e passione per l'antico. Andrea Riccio e il suo tempo, Tridentine Diocesan Museum, cat.90.<br/>Original subject, which does not seem to have been listed in the Renaissance bronzes, this young black slave seems to be able to be related by his workmanship and patina to the production of the small bronzes of northern Italy from the beginning of the 16th century<br/>. One thinks in particular of the small bust of a man with curly hair, a copy of which is kept at<br/>Kunsthistorisches Museum in Vienna (inv. KK 5516, fig.a) and another, of lesser quality, in the Louvre Museum (inv. OA 9116, fig.b). Donated to Andrea Briosco di Riccio or attributed to his studio, this bust of a man is known to be a self-portrait of the artist, nicknamed the Riccio because of his frizzy hair. 4.5 cm high, we find the same power of expression combined with a very free facture, not bothering with details, characteristic of this small bust of African.

Bust of a young African slave in bronze with brown patina. Wearing an iron necklace with a chain around his neck, the young slave, with a flat nose and thick lips, looks at his for…
Estimate — 3 000 - 4 000 €
Pierre Bergé & Associés - Paris,
Wednesday 27 January - 16:30

Experience

art passionately!

Contact
The iconic Hôtel Drouot is the leading auction place in France. Open to all, the institution is a key marketplace for art connoisseurs. Whether you are a demanding collector or not, you will be able to keep up with the latest art market news, browse the upcoming sales and main results, take part in events... Stay connected to this unique place through our auctions and exhibitions calendars, and explore the unique universe of this fascinating world through our guide and variety of services.
Experience art passionately!